Te Tiriti o Waitangi
2021 - Textile (Textile)
85 x 55 cm
Nikau Hindin
Maori barkcloth making is the central artistic form in the Pacific, and still at the core of cultural expression in many Pacific countries. However, Maori barkcloth making ceased to be practiced in the nineteenth century, at the same time as the arrival of European colonists. Completed barkcloth works often represent another complex Pacific Indigenous accomplishment, the sophisticated system of celestial mapping used in the cross-Pacific navigation that led to the expansion of a vivid pan-Pacific civilisation, thriving before colonial disruption. The work thus draws its power and meaning simultaneously in the represented content, in the material production, and the significance of reviving and pursuing this crucial Pacific art form. Hindin sees her practice as a highly political act of cultural resistance. Te Tiriti o Waitangi by Nikau Hindin is part of a series of works titled Kokorangi ki Kokowai : From Celestial Bodies to the Earth , which culminates Hindin’s unique research on M?ori barkcloth over the past six years. This work is a map featuring a fine system of striated markings that encode celestial charts of ocean navigation based on Maori astrology. The work directly confronts tradition with innovation, considering what marks might reflect Maori systems of knowledge. The celestial map painted on the barkcloth is the sky as it was seen in New Zealand on a particular day in the calendar, February 6, 1840, the day of the signing of the Treaty of Waitangi. While part of the process of colonization of New Zealand, the Treaty, which has always remained in force in the country, is the central document in the Maori political struggle, as it acknowledged Maori sovereignty in the new colony. In the past decades, its power has only been reinforced by formal references to its clauses as part of the constitutional process of decolonizing New Zealand.
Through her art practice, Nikau Hindin revives the Maori artform of barkcloth making. The material process produces a soft, thick, slightly textured fabric, so named because it has a rough surface like that of tree bark. Hindin practices this artform according to its traditional logic, while inscribing it into broader contemporary art discourses. Hindin produces all of the technological aspects in her barkcloth making process; from the cultivation of the plants, extraction of the cloth, fabrication of her wooden tools, production of her pigments, and the final painting of the work.
Colors:
Related works sharing similar palette
© » KADIST
Mika Tajima
2017Mika Tajima’s Pranayama sculptures are built from carved wood and chromed Jacuzzi jets and are presented as artefacts...
© » KADIST
Yto Barrada
2007This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
© » KADIST
Sara Eliassen
2014Sara Eliassen’s video work A Blank Slate (2014) employs cinematic effect to investigate the relationships between subjectivity, gaze, and memory...
© » SLASH PARIS
Chambre à brouillard — Juliette Agnel, Clément Bagot, Nicolas Darrot, Youcef Korichi, Alyssa Verbizh, Anne-Charlotte Yver — L’ahah Griset — Exhibition — Slash Paris Login Newsletter Twitter Facebook Chambre à brouillard — Juliette Agnel, Clément Bagot, Nicolas Darrot, Youcef Korichi, Alyssa Verbizh, Anne-Charlotte Yver — L’ahah Griset — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Chambre à brouillard — Juliette Agnel, Clément Bagot, Nicolas Darrot, Youcef Korichi, Alyssa Verbizh, Anne-Charlotte Yver Exhibition Drawing, publishing, film, installation.....
© » KADIST
Kudzanai-Violet Hwami
2019This painting is the direct result of the artist’s research into her roots...
© » ARTS EQUATOR
Podcast 59: The Truth About Voguing in Asia | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Vogue in Progress May 29, 2019 Duration: 20 min Podcast host Chloe Chotrani (assisted by Chan Sze-Wei) uncovers the world of vogue culture and voguing in Asia from legendary mother, Koppi Mizrahi, who hails from Tokyo, Singaporean drag queen Vanda Miss Joaquim and Singaporean dancer Amin Alifin...
© » KADIST
Kelly Sinnapah Mary
2021Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015)...
© » KADIST
Eric Dizambourg
2010Like the film Le Mouton noir, this dimension is counterbalanced by a burlesque element...
© » KADIST
Raphaël Zarka
2001This photograph seems to be awaiting meaning, it more or less evokes known elements without really identifying with them completely: a motorway interchange, a bridge, an electric pylon… In fact this is the end of the tracks of the Aérotrain, a wheelless monorail invented by Jean Bertin in the 1970s, which acts like ‘a fossil of movement on landscape scale’, as explained by the artist...
© » ARTS EQUATOR
ArtsEquator's Hot List: January 2021 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints January 6, 2021 Every first Wednesday of the month, ArtsEquator will release a list of recommended shows/events/programmes that our readers can look out for in that month...
© » ARTS EQUATOR
Migrant Ecologies Project: A Grain of Wheat Inside a Salt Water Crocodile | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Grain of Wheat July 8, 2019 A biscuit tin formerly containing Mermaid Brand Cream Crackers with wheat designs on the outside was chosen as the box to house the wheat as well as test tubes of salt, needles and Singapore’s very own NEWater – all for the wheat’s ritual protection...
© » KADIST
Corey McCorkle
2016Corey McCorkle’s 2016 installation Pendulum is developed around the Cavendish family and their role in importing bananas to Europe...
© » KADIST
Curtis Talwst Santiago
2017Curtis Talwst Santiago has been creating intimate and performative environments within these small spaces for several years; the artist used to carry them around to show visitors one on one, opening up a scene in the space of his hand...
